About the ‘K’

This project

This project is concerned with the application of bioengineering. Located deep within this new field is the number system commonly known as ‘The Fibonacci Sequence’.

An exploration of the relationship between art and science.

Through repetition / colour and form, i am fusing the possibilities and have these set of rules lead me down a random and spontaneous path.

The use of natural forms is merely a creative starting point (ongoing), that even Alan Turing had explored until his untimely death. Are these numbers implicit in our man made arrangement of the world?

These (rules) can be applied (even combined with other number systems) to create works that (kind of) create themselves. It can be applied with form / colour / texture. We can even break out and deliberately go against the (rules) and come back to apply them again. This will give randomness to work that includes computer coding (I am a fully qualified programmer!). We, at some point must break the rules, to challenge them to garner interest / intrigue in an area not known for its creative prowess.

Many people have slavishly applied these mathematical principles thinking that is the route to some sort of enlightenment without knowing that you can move between these worlds / rules and create a narrative all your own.

This I do. I move between around and above.

I am in control (to a certain extent) not the artwork.

This will reveal new work (otherwise you end up with same work time after time – like a photocopier). This gives it a sense of ‘controlled chaos’ (brownian motion).

Pente Sumphonia

This is a film based on Biocensis (Kaloseidos derivative)

A film based on ‘Kaloseidos’

Music by Erik Satie

(Sonnenies De La Rose + Croix Lent et Detache, Air De L’Ordre (Air of the Order)

Interpretation by : Reinbert de Leeuw

Linked thought processes

One classic work in this area is Alan Turing’s paper on morphogenesis entitled The Chemical Basis of Morphogenesis, published in 1952 in the Philosophical Transactions of the Royal Society.

• Travelling waves in a wound-healing assay

• Swarming behaviour

• A mechano-chemical theory of morphogenesis

• Biological pattern formation

• Spatial distribution modeing using plot samples

The earlier stages of mathematical biology were dominated by mathematical biophysics, described as the application of mathematics in biophysics, often involving specific physical/mathematical models of bio-systems and their components or compartments.

The following is a list of mathematical descriptions and their assumptions.Deterministic processes (dynamical systems)A fixed mapping between an initial state and a final state. Starting from an initial condition and moving forward in time, a deterministic process will always generate the same trajectory and no two trajectories cross in state space. • Difference equations/Maps – discrete time, continuous state space. • Ordinary differential equations – continuous time, continuous state space, no spatial derivatives. See also: Numerical ordinary differential equations. • Partial differential equations – continuous time, continuous state space, spatial derivatives. See also: Numerical partial differential equations.Stochastic processes (random dynamical systems)A random mapping between an initial state and a final state, making the state of the system a random variable with a corresponding probability distribution. • Non-Markovian processes – generalised master equation – continuous time with memory of past events, discrete state space, waiting times of events (or transitions between states) discretely occur and have a generalised probability distribution. • Jump Markov process – master equation – continuous time with no memory of past events, discrete state space, waiting times between events discretely occur and are exponentially distributed. See also: Monte Carlo method for numerical simulation methods, specifically dynamic Monte Carlo method and Gillespie algorithm.

Review:

KALOSEIDOS by MATTHEW THOMAS (MATTOMICA) IMPACT THAT’S INSTANTLY

CONTINUOUS: A KALEIDESCOPE ON VISION A review by Minnie Stacey

DOS is an acronym for Disc Operating System, and in the introduction to his artwork Matthew Thomas refers to the Fibonacci sequence – nature’s ever present set of numbers – for example being applied in computer algorithms for search techniques. I can see the implicit symmetry in the comprehensive design of his series of images for Kaloseidos.Conceived by a combination of science and art, Matthew aimed for a sense of ‘controlled chaos’, building his designs using the Fibonacci ‘code of life’ which can be described as: past + present = future. There’s beauty in the circular breadth of Kaloseidos. I viewed its scope from my laptop. Kaloseidos is perfectly stunning. Stark and lush at the same time, the essence of its fabric splits from my flat screen like the blown spindrift of wet crests. Revealing its 3-dimensional presence, Kaloseidos is round with flow. Light is invisible until it hits something, and these pigments leap on its springs – yet stay still at the same time while being combed by my curlew strings.Without needing to know any formulas, I can see the squeakiness of these flower formations because I’m a kind of number crunch too. The poppies and red and white daisy-type towers look like they go on forever, and keep coming in time, celebrating their own existence as shining halo-blooms. I want to reach in and lift the arching orbs, see the bounce of the colours and walk around them with my sight. But, wading in, my brain has their pick anyway – it’s up in my saliva. Without thinking about numbers, the bird in me has unfixed a replica and Kaloseidos is in two places. It’s a set of pictures and a something my imagination’s picked. Like mirror neurons and mirroring, Matthew Thomas’ Fibonacci reflectors are built on mirrors – the silver of the fish we all came from. A sunny pumpkin smash, Kaloseidos is photon-genic – wave-particle flash-splashed and luminous with splendour. It’s definitely about being alive and sharing the stuff of magic glossy membranes.

I’ve written a line about each photograph below: Photo number one: Circular with the substance of Irises, these are flowers that leak with the eyes of food.

Photo number two: A dancing crown which has the clarions of art turning on a star.

Photo number three: The reach of these fish-like fuchsias slips with fingers.

Photo number four: The flexing rods of these blue flowers have eyelash fur as they bend and seem to look around and about an orb with lively audacity.

Photo number five: These unblinking towers are the licks of a magic fire that doesn’t burn or brand, zoomed up on Chinese festival-dragon eyes.

Photo number six: The tendrils of this cheeky ‘seed’ suspend themselves by sucking in sunlight.

Photo number seven: This must be a fragrant heart, the lilac tropic of a trope with links.

Photo number eight: Here, salmon petal-cones of fruited sight form a garland that reveals a mushroom button – the electric jump that’s in us all.

Photo number nine: These verdant foils of pink and black have the glow – the ‘Here I am!’ – of the biosphere’s belly-smile.

Photo number ten: These fabulous orchids are butterflied on the flight of honeyed number-sex.

Photo number eleven: Looking from stacks of saucers, these poppies are courageous as a power of eyes – a peek that will cry in an oxygen burn.

Photo number twelve: This white petal swirl is a spiral spine, an event horizon that cares for joy with a windmill of movement.